Smallville, compared to the other teen series that I have viewed, deals with an epic co(s)mic theme—saving the earth! It is the quintessential American myth, and as a British-born Canadian, I may never quite fully comprehend the place Superman has in the American psychic Imaginary. It is "almost" impossible, however, to have escaped confronting its myth. One easy and somewhat facile reading is that when Superman first appears in 1938, a year before the start of World War II in Europe, his granite features and muscled body are then ideologically put to work as an idealized soldier-machine, part of the war propaganda battling Nazis, forwarding nationalism and patriotism.¹ Such an armored body, as Klaus Theweleit (1977–78) has disturbingly shown, would suggest the need to symbolically present him as a delibidalized body turned machine.² The postwar televised series The Adventures of Superman (1952–57), starring George Reeves, has him foiling post–World War II Nazi activities and consolidating U.S. social and economic status.